Monolithe – Zeta Reticuli Review

Progressive Doom or Precision Doom. Neither or both, maybe and maybe not. Quantum mechanics isn’t really designed to make hypothetical music but many of it’s theoretical principles strangely manifest within the noisy format. Without any further postulation Zeta Reticuli is the second part of a story that began with Monolithe’s fifth album Epsilon Aurigae.

Although lengthy, each song on Zeta Reticuli is worth your endurance. They morph in complexities to provide an unnatural system of music that breathes in a manner of reflection like heavy breathing that has condensation diffusing from the harmonies plays between the guitar and synth work. It’s dense and yet ghostly.

Shadowy developments move from the guitar to contrast their synthetic counterparts. Layering chord arrangements within a harmonious cacophony that forebodes trepidation. The measure is means enough to incite caution but by juxtaposition encourages deeper listening that leads radiating frequencies to shape the songs into movements.

The sixth full-length from Monolithe is a grand discordant music fest all to itself. With three tracks that are each a perfect quarter of a hour, the album is like a wormhole that folds through time and space, marching a drill elegy towards completion. Its anamorphic imaging will pull you into the unseen.

David Oberlin is a composer and visual artist who loves noise more than a tidy writing space. You can often find him in your dankest nightmares or on twitter @DieSkaarj while slugging the largest and blackest coffee his [REDACTED] loyalty card can provide.